Within the video game community, Resident Evil has become a formidable contender. As Capcom began designing the seventh game in the series, Zoic jumped on board to vivify their vision.
Our studio’s robust custom pipeline enabled us to build a crew and utilize the full spectrum of the industry’s finest software. Whether it be Maya, Houdini, Realflow, Phoenix, or Yeti—each package was applied to its full potential as the project was realized.
The sequence was outlined through previs to appear as a continuous shot. To improve manageability, key overlapping moments were created to break up the ‘seamless’ spot into multiple sections for production ease. Through a few rounds of animation and lighting, we began creating the devastating storm—manipulating Houdini’s tools for the ocean water, splashes, and foam. Rain, hair, and cloth sims were run through Maya using Pregrine Labs, Yeti, and nDynamics.
Final composites were assembled in the Nuke Studio, allowing us to assemble and grade all shots together—along with creating the illusion of an epic ‘one shot’ experience.
While partnering with Capcom for Resident Evil 7 – Biohazard, an interest arose to create a teaser that fit the ambience of the video game. Working with limited frames and select screenshots from the game, Zoic’s team designed and conceptualized imagery/situations that proved too eerie once combined.
After adjustments and approval, the kit bashing phase began without a hitch. By upressing game assets as well as creating assets and environments anew, the team worked diligently to capture subtle details of each scene. To keep the viewer unsettled yet still interested, it was imperative that this feel like a compilation of a larger occurrence.
The majority of the spots were created through Maya and rendered in VRay, while the mold time-lapse was designed through Cinema 4D and rendered in Krakatoa.
The rotting wolf sequence proved the most challenging. We used a time-lapse of an actual decomposing animal to animate the skeletal structure and skin/fur—applying a layer of vertex jittering to provide authenticity. Another addition of detached hair and a few iterations of maggots/flies polished the shot. Needless to say, our lunch tabs were fairly light throughout this process.